I was extremely thrilled to find a book about "events" that seem to be accesible ONLY through "word of mouth" (& understandbly so). The variety of topics discussed and researched and the manner in which the info was presented was great...

Philip H. Melanson is a professor of political science and a specialist in the study of political violence. This book is an authoritative expose of brazen official manipulation of the legal process used to cover-up the conspiracy to kill RFK. The numerous glaring and unanswered questions in this case, with the simplistic official solution, caused the author to research for additional unexamined evidence. He spent many years investigating the facts, interviewed dozens of witnesses, law enforcement officials and other sources, and analyzed hundreds of LAPD and FBI files released by 1991.

Philip H. Melanson provides evidence that Sirhan did not act alone, and, the official investigation authorities (LAPD, FBI) covered up evidence that suggested conspiracy (p.4). He was the first author to have access to most of the existing LAPD files on the case. He and his team found that the LAPD had altered, suppressed, and destroyed vital evidence in the case (p.6).

The investigation assumed a "lone gunman" immediately. The trial was only concerned with Sirhan's state of mind (pp.24-25). The number of shots fired, the bullets matched to the wrong gun, were all skipped over. The LAPD's conclusions, its methods and its competence were not tested in an adversarial proceeding. The tapes of Sirhan's interrogations were never released to the defense. The profound discrepancies and conflicts in the evidence were suppressed or ignored by the LAPD and were never addressed by the judicial process.

What made this case so hot that the 1997 Congressional Investigation wouldn't touch it? Will the assassination of RFK ever be reinvestigated by a Congressional Committee? We've also learned a lot since 1991 about the LAPD and the FBI: the Trial of OJ Simpson, and the Inspector General's report on the FBI. (Read "Tainting Evidence: Inside the FBI Crime Lab Scandals" by Kelly and Wearnes.)

Raymond Chandler's creation, Philip Marlowe, is a character that has influenced modern fiction greatly. Without Marlowe the archetype of "private dick" would not carry the cultural weight that it does today. It is true that the plot lines of many Chandler works are contorted to the point of no return, but it is not the plot that counts. The reason why these books are so successful is because we the reader become enthralled by Marlowe and his immediate knowledge of all things that surround him. Because Chandler made Marlowe such a carefully wrought character, Farewell, My Lovely becomes an examination of the human character rather than a list of dastardly deeds committed by crooks without depth. Every scene is an interaction between fully developed characters. He defines himself in relation to the people and actions that whirl in and out of his life. Marlowe offers us plenty of insight into his opinion of his relations. Because he is such an endearing person we want to believe every word he says. He is a product of the LA scene where he works. We the reader build confidence in our hero because he is capable of sizing up any situation immediately. Slowly we learn to trust Marlowe's way of navigating the underbelly of LA. I truly enjoyed Farewell, My Lovely because Chandler forces through Marlowe an undeniable wit and charm. He will make you laugh and draw you into his brand of thinking about other characters. I wonder sometimes when reading Chandler about how Marlowe would size me up. I would recommend this book to anyone who enjoys reading about interesting characters and loves a wry wit and dark charm.

Seeing as how "The Big Sleep" and "Farewell, My Lovely" are the first two Philip Marlowe detective novels that Raymond Chandler wrote (published in 1939 and 1940, respectively), this is a grand place for a Chandler novice to begin pursuing the morally decrepit alleys and boulevards of the rich and not-so-rich in Los Angeles.

One thing you should note is that Chandler held the conventional detective stories (think: Agatha Christie) in disdain. Ergo, any attempt of mine to barf back the plots to you is a waste of time. They are so complex that you often forget exactly what happened shortly after you finish reading the books themselves...which doesn't detract from their quality whatsoever mind you. It's been told often enough that after their publication, Chandler often didn't even know what was going on in his own novels!

Suffice to say that both books concern murder among the wealthy elites in L.A. during Chandler's life--a time when the city was a lot smaller than its present size, and more hostile to outsiders--particularly to people of color. "The Big Sleep" concerns a disappearance and a reclusive millionaire and his two daughters (one is a mentally deranged nymphomaniac; the other is a bit more sensible, but no less shady) and the lengths he'll go to protect them. While this isn't the best Marlowe novel, this is probably the best place to start. Plus, it got made into a pretty good movie starring Bogie and Bacall.

"Farewell, My Lovely" is perhaps the most politically incorrect of the Marlowe books. It starts off with a murder at a bar in South Central L.A. and extends its tentacles into jewel heists and gambling rings where it is difficult to ascertain exactly who is doing what to whom. In Chandler's L.A., nothing is what it seems.

The story itself is engrossing, however, you must prepare yourself for Marlowe dropping the "N" word at least once, and his mockery of an American Indian for speaking in pidgeon English. Remember that this was 1940 and was 25 years before the Watts riots began to put an end to the white-dominated old boys network that used to rule L.A. That in itself makes it an interesting look at the mentality of the powers at be (the wealthy, the LAPD) and see how much has changed since Chandler's day...and how much hasn't.

My personal favorite of Chandler's books is "The Long Goodbye"--the second-to-last Marlowe novel that was published in 1954. I would rank both of these books below that one, but "Farewell, My Lovely" is a close second, while "The Big Sleep" is an auspicious debut for the hard-boiled, cynical, yet romantic ...

For those who are willing to take more than a passive interest in the works of Raymond Chandler, this two-book set is an excellent place to start. Furthermore, for those who are merely casual Chandler fans, this set is great because these two books are among his best (and it looks nice on your bookshelf too!)

I've always believed that Chandler was one of the great prose stylists of the 20th century. Read these two novels and try to disagree with me.

This book about Richard Ramirez, the so-called Night Stalker, is simply one of the best, most painstakingly researched books I have ever read in the true crime genre. Philip Carlo takes you through every single facet of the Night Stalker case, from the victims and thier families, to the life story of Richard Ramirez and his family, through the trials and the evidence and even the groupies that gathered around Ramirez during his lentghy trial.

Carlo takes you down slowly, down into the mind of Richard Ramirez. By the time you realize where you are, its almost too late; you understand the Night Stalker. The groupies make sense. You feel the bewilderment of the victims. You understand the drive of the dectectives and see flaws in the system. And maybe, just maybe, you understand why someone like Doreen Ramirez would be so obsessed with a killer that she would make it her life's mission to marry him on San Quentin's death row.

Unlike many true crime novels, where the "shocking photos" are nothing more than pictures of the places and the peripheral people, Carlo has photos of crime scenes, Ramirez in various stages of his life, the women who were obsessed with him, the outrageous trial behavior. One tiny dissapointment: couldn't the photo of Laura Kendall (undeniably gorgeous but unmentioned in the book) be replaced by a shot of his supporters from the Church of Satan in court?

All in all though, this is a work to rival Graysmith's in depth coverage of the Zodiac killer. I highly reccomend it to fans of good true crime writing.

This book was one of the best written true crime books i have ever read. I read all 559 pages in 2 days, unable to put it down. It got into my dreams at night, and I'd awaken petrified that Richard Ramirez was at my window. It's THAT good!

The book starts off with very detailed descriptions of the crimes, from the killers point of view, goes on to the investigation (which is in no way boring as in other true crime novels), and then leads into Richards family life. It finishes up with the trial and the sickening marrige of Richard to Doreen. Yes, as it turns out, someone wanted to marry him.

It's a very well written book, that will keep you up at night and keep you reading. I recommend highly!!!

Absolutely the best-written and researched book about a serial killer I have ever read. Philip Carlo turns in a stellar performance detailing every aspect on the psychotic rampage of America's most deadly, viscous and sadistic serial killer. The extensive research was evident in the way Philip narrates the actual crimes themselves. A cold blooded, spine chilling account of Ramirez's unreal invasions of his innocent victim's homes while they slept had me checking my doors and windows at night. Fast reading exciting recounts of Ramirez's bloody spree and the LAPD's urgent chase to bring him down. The in-depth look into the Night Stalker's family history and upbringing helps explain what turned a little boy into a monster. The coverage of the court trial is very comprehensive and gives us a close up look at the inner workings of a major criminal case. Carlo regales us with a well-written, colorful and detailed look in to the mind and crimes of the Night Stalker. A must read for true crime aficionados.

Don't get me wrong from that summary up there. I liked The Big Sleep, it was one of the great novels of any type, mystery or otherwise. But there is something about The Long Goodbye that really gets you. Something about it that's beautiful and dark and all around wonderful.

"Beautiful" is not a term often applied to hardboiled novels like this, but this book is. The story of Philip Marlowe finally confronting his age, finally finding someone he might spend the second half of his life with, The Long Goodbye takes you into Marlowe's mind and soul the way no other of Chandler's seven Marlowe novels does.

This novel, the sixth in the series, is so good that most people overlook the fact that there was a seventh (many people, when they mention Chandler, leave out "Playback"). Although "Playback" was a good novel, The Long Goodbye is, in a sense, Chandler's long goodbye to his readers, giving them one very memorable classic before he died.

I can't possibly gush about this novel anymore. All I can say is that you should read it.

My second Raymond Chandler novel has elevated my opinion of him even higher than I thought possible. Chandler is an absolute master of the noir genre. His grittiness, dialogue and characters are matched by almost no one else. This book just flies by and is such a page turner that I had it finished in less than two days. Too bad Chandler wasn't more prolific; I'll have all of his stuff read by the end of the year.

The Long Goodbye brings Marlowe into constant conflict with lowlifes almost immediately after the book starts. Marlowe befriends a drunk who happens to be married to a beautiful, rich heiress. The only problem with this is she's a nymphomaniac and ends up dead. Marlowe helps her hubby escape and ends up in trouble with the law (of course). The rest of the book sees Marlowe hired to keep a famous author sober so he can finish his novel. Marlowe ends up entwined with the author's wife and their crazy butler, Candy. Needless to say, all of these threads wind together in the end. Even revealing this much to you in no way spoils the book. There's so much going on here that you'll be constantly wondering how Chandler is going to bring it all to a head. He does, and he does it beautifully.

The book is top heavy with all sorts of clever dialogue. Marlowe's putdowns lead to endless howls of laughter (at one point, he describes a guy with as having a "face like a collapsed lung"). My favorite part of the book is when Marlowe confronts the three quack doctors while trying to track down the alcoholic author. Marlowe is the man!!

This book should be required reading for anyone interested in noir. I'd recommend it to anyone who just likes to read. I can't wait to read more of Chandler's novels. I'll try and space his books out so they last a long time. Too bad Raymond Chandler didn't start writing at an earlier age.

This epic Raymond Chandler novel is his most finely crafted and perhaps the best ever of its genre. Featuring Chandler's world-weary private detective, it mixes an intriguing plot with fascinating social comment. The plot concerns Marlowe's dealings with a drunk named Terry Lennox and his role in an escape from a murder charge to Mexico. Most of the novel, however is taken up in the rich suburbs of L.A. It has everything that all the best Chandler/Marlowe books have, clever, poetic, often humourous dialogue, cynicism, characters who seem tired of life and yet so full of it, and the sun-drenched L.A. setting. Those used to the more pacy narrative writings such as 'The Big Sleep' and 'The Lady in the Lake' may be a tad cool on this book as it spends as much time dissecting the lives of its downtrodden characters as it does unfold the plot. The later film version, brilliant though it is, does not even do this book justice. EVERYONE SHOULD READ THIS BOOK!!

The book jacket on this little gem describes it as a "car noir thriller", and this is one of those rare instances when the cover blurb nails it. If you want cars, this story is dripping with Mercedes and Maximas and Fords and GMC's and Integra's, even an Escort (!?). If you're into noir, you'll love the seedy downtown LA settings, the bodies in the trunk, the femme fatale seeking revenge -- and an ending that does the genre justice. Finally, it is a non-stop thrill ride through wrecked lives and double-dealing and the law on your tail no matter which way you turn. The hero (always a relative term in noir) is Harold Dodge, who falls hard for a babe in spike heels who's been hoodwinked on an automobile transaction and wants him to "unwind the deal" for her. Unable to resist those killer legs, he agrees. Before Dodge knows it, he's in trouble up to his neck, winds up in jail, almost gets himself killed and manages to get laid like he's never been before, though not necessarily in that order. If you like Elmore Leonard and Jim Thompson, you'll like Phil Reed, too.

Phillip Reed's first novel is a success. Harold Dodge, womanizer wannabe, friend to the down-trodden, and bumbler extraordinaire, tries to correct a friend's bad business deal and ends up in a deep pile of trouble. Of course, he can't do this alone, he takes those close to him down with him. Just when you think it can't get any worse, it does and the book ends. Harold Dodge is definitely the everyman of the genre. Were it not for the writing being a little rough in some places I might rate this a 10. Phillip reed has indicated he is working on a sequel to clean up Harold's mess. Fortunately, I doubt one book will be enough to do that and I'm sure a 10 is just around the corner.

Harold Dodge is nearing fifty with graying hair and a belly to prove it. He is the "writer" of a book, "How To Buy A Cream Puff". He is also a good person, who is willing to help people. It helps him to help when the needy individual has a fine female shape. Marianna Perado turns to Harold for assistance in getting her out of the car deal from hell that she made with Joe Corvo, Harold's former boss. Harold agrees to help her. ...... Harold does not know what he has agreed to when he said yes to Marianna. Before he finds out the full extent of his commitment to repossess her vehicle for her, the police wants him; the FBI wants him; the repo men want him; punks want him; professional criminals want him. The only person who does not seem to want him is Marianna. Now if he survives this entire mess that being a good samaritan has led him to, it is doubtful that Harold will ever volunteer his services again even if the President asks for his help. ..... BIRD DOG is wild ride through Los Angeles reminiscent of Carl Hiassen's trips through Florida. The novel is a satire that spins into a complicated suspense thriller. Hopefully there will be more novels starring Harold, who is a wonderful character. Philip Reed has clearly written a winner with his debut novel .....Harriet Klausner

"The Big Sleep" opens with private eye Philip Marlowe being summoned to the expansive estate of the aged and wealthy General Sternwood. Sternwood hires Marlowe to investigate a blackmailer who has been involving Sternwood's wildly misbehaving younger daughter in some embarrassing indiscretions. Marlowe's trail leads him through a labyrinth of murder and deceit, and it is impossible for the reader to guess the real story behind Sternwood's daughter's trouble until Marlowe analyzes and reveals the scheme at the end of the book.

As he explains in his essay "The Simple Art of Murder," Raymond Chandler disdained the linear "whodunit" style of mystery and set about to turn the genre upside down with this, his first Marlowe novel. Chandler's style of designing a complex plot and inserting the detective somewhere in the middle to put the pieces together was to be a big influence on many crime writers to follow and particularly on a TV show like "The Rockford Files." (Jim Rockford was not unlike a '70s version of Marlowe, and many of the episodes featured similarly complex plot structures.) While some of Chandler's dialogue, situations, and props may seem a bit dated, his mindbending plot concept seems as fresh and exciting today as it must have sixty years ago.

Another book in my quest to read the classics - A great addition to the list! I am a big fan of mystery books such as Sue Grafton's alphabet series...now I see how the genre began. Raymond Chandler sets the bar for other PI novels to follow.

THE BIG SLEEP introduces us to Phillip Marlowe - a sarcastic PI with a unique perspective on things. Marlowe is hired by an aging rich man to find out who is blackmailing one of his daughters. Marlowe finds out the blackmailing is only the beginning of a tangled web of intrigue. There are two murders that seem unrelated at first, however as the book progresses Chandler does a wonderful job of weaving them together.

Chandler's writing style is pure joy to read....each scene is described in great detail, you feel like you are there. I love Marlowe's dialogue - tough, sarcastic and to the point. The BIG SLEEP is a classic mystery any fan of mystery novels should read.

When "The Big Sleep" was first released it was dismissed by those in the literary community as a worthless, pop-culture, dime-store novel. Now, If a book is compared to a Chandler novel, it is a bigger compliment than a Hemmingway comparison (Ernest's "Machismo" theme has fallen flat). Aside from the fact that Chandler's novels are just SO DAMNED FUN, they also set the bar for what a good detective novel should be. Chandler's protagonist in this and all of his major works, Philip Marlowe, Private Eye, is by far one of the most memorable in ALL 20th century literature. He has come to embody what the cool-headed, quick-witted, tough-guy detective is supposed to be in Hard-Boiled Crime Fiction (in both Books and Film). To define an entire genre is no small feat and happens once in a blue moon, thus "The Big Sleep" has become an importaint book for those who are mystery-lovers and those who are not. Looking back at what America has produced in the last 100 years, it would be safe to say that "The Big Sleep" is one of the most importaint and influential works to be published.

Philip Reed has given us a unique thriller set in the underbelly of Los Angeles among the chop shops of The Third World and the car dealerships that illegally work with those shady businesses. This fast paced novel has an unusual theme, a reluctant and barely competant hero who we find both tough and tender and, above all, likeable. Harold Dodge returns in this second book to set right some bad situations that developed in "Bird Dog," Reed's first novel. Reed provides a careful mix of raw power, fast cars, hot women, with tender love and finese. I enjoyed the book enough to read it in a single sitting.

Phil Reed has created a modern Don Quixote in the unlikely form of Harold Dodge. Dodge is your average, hard-working joe that has become the fodder for the miscreants of our society. He gets mad as hell in BIRD DOG and marches right through into LOW RIDER on a one-man quest to correct the incorrigible wrongs and infidels that have befallen him. In lieu of his trusty steed is a lime green '64 Chevy Impala SS with plenty of horsepower to crusade against the evil gang-bangers, rip-off insurance agents and crooked car dealers. Dodge battles to get a piece of an insurance settlement on a man that he has wrongly been accused of murdering in BIRD DOG.

The journey is replete with temptations, brutality, maidens in distress and evil at every stop light. It is a battle that will keep you on the edge of your seat and white knuckled as you race to a climatic conclusion.

Phil Reed has created a marvelous world where the good guy fights back and even has a chance at the girls and the fast cars. It is my hope and wish that this is just the begining of a long and exciting career for both Phil Reed and Harold Dodge. Long live the "car noir"!

Vikki Covo offers car dealer Harold Dodge a substantial amount of money if he can get the cause of her spouse's death changed from suicide to homicide so that the widow can collect on the deceased's multi-million dollar life insurance. Seeing an opportunity to make a substantial killing, Harold travels to Santa Barbara to convince the local police department that his former boss Joe was a murder victim.

To his surprise, the police buy Harold's theory. To his chagrin, they name him as the prime suspect as he had the means, the motive, and the opportunity. In addition to his problems with the local officials, Harold soon realizes that Joe's many cronies are coming out of the Southern California smog to claim partnerships with the victim, thereby making it even more difficult to determine who, in fact, actually killed the man. Still, Joe with the help of his paramour, begins his own investigation if only to prove that he is innocent.

Though not quite on the BMW level of his debut novel BIRD DOG), the second appearance of Harold Dodge is clearly a top of the line read. The characters are all fun, especially Harold, who seems to find a way to not only get in trouble but to condemn occupational groups (from car salespersons to insurance agents). The who-done-it is interesting with non-stop action scenes. Philip Reed sinks the winning FREE THROW with this classy amateur sleuth series.

Harriet Klausner

Postwar L.A. -- and especially Hollywood -- is the setting for Chandler's fifth Marlowe novel which, like the time and place (and the author himself), is a little "off." Marlowe's beginning to tire, his loneliness is a bit more apparent, and the disillusionment has started to etch permanent lines on him.

None of which stops him. Neither does it make "The Little Sister" a bad work. In fact, it holds up remarkably well alongside Chandler's first four novels.

Chandler draws upon contemporary events and personages for much of his inspiration here (something he did in several earlier stories and novels, to a lesser degree); the photo which triggers the action in "Sister," for example, is based on an incident involving gangster Bugsy Siegel . . . but then the character of Steelgrave, himself, bears a more than passing resemblance to the then-recently deceased hood. It's equally evident that Chandler relied upon his recent screenwriting experience (and exposure to Paramount and Universal studios) for material and characters. There's an element of gleeful revenge, I suspect, for example, in the character of agent Sheridan Ballou: certain characteristics, such as his tendency to strut up and down his office twirling a mallaca cane, can only have been inspired by director/screenwriter Billy Wilder (with whom Chandler, collaborating on the screenplay for "Double Indemnity," shared an entirely mutual loathing).

Other characters, primarily a pair of mismatched thugs sent to intimidate Marlowe, are pure burlesque; Chandler appears to be simply indulging himself here (while he simultaneously manages yet another dig at the movie industry). But then, in scenes such as a Bay City boarding house or -- even more on point -- a mood-laden confrontation in a doctor's office ("Things are waiting to happen.") -- Chandler emerges as still the master at stretching tension beyond its breaking point.

There's also that memorable passage when Marlowe takes a latenight drive over Cahuenga Pass ("Easy, Marlowe, you're not human tonight."), in which Chandler shows himself unmatched at juxtaposing mood and movement and thought, particularly when he wants to advance the plotline and divulge his protagonist's mindset without appearing to do so. This, for me, has always been Chandler's greatest skill: the ability to achieve art without letting himself get caught at it.

But is "The Little Sister" Chandler's best? Not close.

But Chandler still delivers. As does Marlowe.

"The Little Sister" was my introduction to Raymond Chandler and his immortal private detective, Philip Marlowe. I opened it up for the first time four years ago and have read it twice more since then.

I had never read a hard-boiled mystery before, and "The Little Sister" exceeded my expectations. The punchy dialogue, the terrific characters, Chandler's trademark similies, Marlowe's toughness interlaced with a penchant for justice, the contemporary view into the Hollywood of the late 1940's. "The Little Sister" electrified me and sparked an insatiable appetite for more Chandler. I read his remaining novels in rapid succession, always buying the next one before reaching the end of the novel at hand so I could immediately plunged back into Marlowe's long-vanished world.

I have since read all of Chandler's novels and short stories, and "The Little Sister" still remains my favorite, closely followed by "Farewell, My Lovely."

Raymond Chandler is possibly the greatest detective fiction writer of all time. The only people that even hold a candle to him are Hammet and in some ways Mickey Spillane. Cahndler was able to take a genre and transform it from what many considred trash into an art. In my opinon The Little Sister is his best work. He was able to captrue all of the characters attitudes and emotions with expert skill. Even though I enjoyed all of his other novels this one sticks in my mind simply becasue in this novel we actually see Marlowe willing to give up. In this novel he complains about his pay rate and almost throws in the hat but he doesn't. Marlowe finally shows that even he can become dejected to a point where he considers giving up and that is one of many reasons this novel is my favorite of Chandler's. Read it and give it a try.

Raymond Chander's second novel is both more and less successful than his first. THE BIG SLEEP suffered from a plot that fell apart in midstream; FAREWELL, MY LOVELY, however, is much more consistent throughout. On the other hand, for all its twists and turns, THE BIG SLEEP was quite plausible; FAREWELL, MY LOVELY, however, is about as farfetched as you can get. But once again, such criticisms are almost beside the point: the great attraction is still Chandler's knock-you-flat prose, his tone of voice, his often imitated but seldom equaled style, and it is so powerful that it keeps you turning page after page after page.

In general, FAREWELL, MY LOVELY once more finds street-smart and super-savvy California P.I. Philip Marlowe sticking his nose where it has no business being--and when curiosity leads him to follow a massively built white man into a black nightclub he finds himself embroiled in a murder no one cares about solving... at least not until it begins to figure in what seems to be a completely different case with a high-society spin. And encounters with stolen jewels, a spiritualist racket, police corruption, and a gambling ship quickly follow.

Along the way Chandler again paints a gritty portrait of the seamy side of life. On this occasion, he takes a passing look at race, and makes the point that from a police point of view two standards apply: the authorities care nothing about the murder of a black man, but they treat a white man's murder very differently indeed. This portion of the novel is intrinsically controversial, for Chandler uses the slang and racial slurs common to the mean streets of his era--but it is worth noting that although Marlowe uses the same language, his attitude toward the blacks who appear in the novel is considerably different from that of the authorities, who could not care less about the murder of a black man who don't much care who knows it. And once again, Chandler graces his pages with dames and dandies, broads and bums--and he makes them live with remarkable vitality. The famous prose is as rich as ever, although noticeably less witty and quite a bit darker than that found in THE BIG SLEEP. We've stepped off the curb and into the gutter, Chandler seems to be saying, and we're walking in it all the way. Impressive stuff and a very entertaining read.

I recently listened to the unabridged version of this book narrated by Elliott Gould, and while Chandler's glimpse of 1940's era Los Angeles was surely entertaining, I still like Dashiell Hammett's "Continental Op" novels better. In Farewell, My Lovely, private dick Philip Marlowe starts out working for a barber on a minor job and unrealistically stumbles onto a murder by a hulk of an ex-con, looking for his old girl Velma in a club where she used to work. Marlowe then is mysteriously contacted out of the blue to provide security for a shady jewel transaction, in which a rich dandy is to attempt to buy back some precious jade from the thieves who stole it.

The novel moves at a brisk pace, and while some of the plot twists seem a little forced, they are entertaining nonetheless. One of my main problems with the story is that Marlowe seems to spend most of the novel putting his life in danger, getting knocked out, shot at or drugged, without much of an incentive to get involved. He often seems to be acting on his own, without a paying client, despite warnings from the police to stay away coupled with the obvious dangers. Hammett's continental op, in novels like The Dain Curse, at least had a paying client ordering him to snoop into the multi-layered mysteries, with significant insurance money at stake.

Ultimately, without giving away too much of the story, Chandler does a pretty good job of throwing a lot of balls in the air and wrapping up most of the loose ends by story's end. Some threads are left unresolved, like the whereabouts and motives of the mysterious doctor and psychic in Bay City, but most of the rest of the plot makes sense. LIke another reviewer said, at the end of the novel, while you may have enjoyed the ride, you are left with somewhat of an empty feeling.

As for the narration, I expected a little more from Mr. Gould, an accomplished stage and screen actor who seems to sleepwalk his way through the beginning of the book as if he was handed a copy of the novel, a microphone, and told to read. He later changes pace a little, adopting different voices for different characters, but I found the voices ill-suited to the characters and sometimes caricatures of policemen or gangsters, as if the novel was a scene from a "Bowery Boys" episode.

Farewell My Lovely, Raymond Chandler's second novel in the Philip Marlowe series, transcends the genre it helped to create, and is now (deservedly) viewed by many as literature and as social criticism.

Chandler creates moods and telegraphs emotions via the poetic ramblings and outrageous similes from the mind of Philip Marlowe, the protagonist/detective/narrator who is picked up by the collar and dragged into a murder mystery that exposes not only the hypocrisy beneath the surface in the lifestyles of the rich and beautiful, but ultimately, the depravity of the human condition. And all of this is delivered with a caustic sense of humor, a wry wit, and a hypersensitivity to the visual world and it's translation into the language of the mean streets.

Although Chandler died shortly before I was born, I grew up in L.A., and I can say that the L.A. Chandler wrote of is in many ways the city of my childhood memories, so well did he capture the ambiance and ambivalence of the 'city of angels'.

Some have criticized his plotting and plausability, but emotion, action, and detail were what interested him the most, and in these he excelled. FAREWELL MY LOVELY must be viewed within the context of it's era (published in 1940) to be fully appreciated, but the flow of action, the visual aspect of it's language, and the insights into the very human conflict of corruption verses conscience are timeless.

This book, like the first in the Marlowe series (THE BIG SLEEP) was written at the height of Chandler's creative career, and exemplifies the style that has made him a writer's writer, possibly the most imitated author of the past century.